Baarsen, Reinier, 'Herman Doomer, ebony worker in Amsterdam', Burlington Magazine, vol.138, 1996, pp.739-49. On the work of Herman Doomer, a leading Amsterdam ebony worker who not only made cabinets and mirror frames but also produced picture frames. His portrait in the Metropolitan Museum, New York, was painted by Rembrandt in 1640, leading to speculation that he supplied Rembrandt with frames; his workshop may have produced frames for other painters who appear among a list of debtors in his widow's post-mortem inventory in 1678. The attribution to Doomer of a splendid cabinet in the Rijksmuseum, Amsterdam, has led to the identification of another cabinet, with wavy mouldings and auricular detailing, at The Argory, a National Trust house in Northern Ireland, see Simon Jervis, 'Ebony at The Argory', Apollo, vol.147, April 1998, pp.42-4.

Baija, Hubert, ‘Een nieuwe lijst voor de Heilige Maagschap', Bulletin Van HetRijksmuseum, Amsterdam, vol.51, no.2, 2003, pp.139-44, 8 illustrations, 2 profile diagrams. Discusses the new frame made at the Rijksmuseum for a painting by Geertgen tot Sint Jans, with simple flat profile and inner gold rainsill moulding. Various previous frames are also illustrated, from the picture's appearance in a watercolour of 1838 by Gerrit Lamberts, through its later 19th-century frame with deep rainsill and colonettes, to a 20th-century neo-gothic frame.

Baija, Hubert, ‘Original Gilding in Auricular Frames: unusual gilding techniques practised in Holland, 1640s-1670s’, Art Matters: Netherlands Technical Studies in Art, vol.3, 2005, pp.9-19. In this investigation, eight out of nine frames in the Dutch auricular style from the 1640s to the 1660s showed a remarkable similarity in buildup. Substantial layers consisting primarily of animal glue were used directly onto the wood, instead of a traditional chalk ground or gesso. A thin layer of pigmented emulsion paint on top served both as a coloured ground and a size for the gold leaf.

Ebert, Bernd, ‘Die originale Rahmung’, in Simon und Isaack Luttichuys, Deutscher Kunstverlag, Berlin and Munich, 2009, pp.298-303, 8 illustrations. This is a catalogue raisonné of the work of the Luttichuys brothers: Simon, mainly a still life, and Isaack, a portrait painter, in 17th-century Amsterdam. As such it includes this interesting, if short, note (in German) on original surviving frames on portraits by Isaack Luttichuys. Three pairs of works are illustrated, in strikingly carved auricular frames: a pair of a married couple, Andreas Winius and his wife, c.1654, the Rubens workshop Archduke Albert of Austria and Isabella of Spain in almost identical frames, and a final pair of an unknown couple with superb examples of auricular trophy frames in ‘his and hers’ style, ornamented with military and amatorial trophies respectively.

Joosten, Joop M., ‘Framing Mondrian', unpublished paper given at the symposium, Modern Art in the Laboratory - Technical Examination and Art Historical Implications, held at Harvard University, Cambridge, Mass., USA, on 5 May 2001, and reviewed in Conservation News, no.76, November 2001, p.47. The review describes Joosten's detailed exposition of Mondrian's framing processes throughout his career.

Verougstraete, Hélène, Frames and Supports in 15th- and 16th-Century Southern Netherlandish Painting, an updated study based on the author’s 1989 doctoral thesis, which was prepared in French with black and white pictures. The new version has been translated into English and contains expanded research with crisp full-color illustrations and a searchable, zoomable interface. Supported by the Getty Foundation as part of the Panel Paintings Initiative, this free e-book is published by KIK-IRPA, the Royal Institute for Cultural Heritage in Brussels, and offers 700 images and 1500 diagrams.

Weller, Dennis P., ‘Eglon van der Neer’s “Portrait of Aernout van Overbeke”: the frame makes the man’, Burlington Magazine, vol.151, February 2009, pp. 98-101, 5 illustrations. Describes the intriguing Lutma-style trophy frame on a small portrait of Aernout van Overbeke, a 17th-century collector of jokes and comic writing (North Carolina Museum of Art). Painted with wine, dice and a tric-trac board, Overbeke continued the theme into the trophies of his frame, which include a shuttlecock raquet, glasses, chess pieces, cards, dice, a tobacco box, clay pipes and recorders, pistols, fish for wagering at card games and a fool’s cap. He came from a wealthy family and qualified as a lawyer, but frittered away his substance, presumably through these various ‘tools’, and had to recoup his fortunes abroad with the Dutch East India Company. The frame is interesting for its reversal of the conventional trophy frame, where items are represented as attributive of the subject’s position, trade, worthiness or moral virtues.

Wheelock, Arthur K., ‘The Framing of a Vermeer', in Volker Manuth and Axel Rüger (eds),Collected Opinions: Essays on Netherlandish Art In Honour of Alfred Bader, Paul Holberton publishing, London, 2004, pp.232-9. On the use of cases as a setting for Dutch 17th-century paintings. Vermeer's Woman holding a Balance (National Gallery of Art, Washington DC) was the only one of 26 works in an Amsterdam 1696 sale catalogue to be described as 'in a box'. In an exhibition of the work of Gerrit Dou held in a private house in Leiden in 1665, 22 out of 27 works were in cases. Such cases required the viewer to come close to the work to open the case doors, so establishing the viewer's position in relationship to the painting. The presentation and viewing of the work of other artists is discussed.